Art and story discussion blog. Mostly original character art and story progress updates from original writing and fanfic, or RPGs. I'll reblog anything that amuses me or I think is worth sharing, though. 😁 Ao3: MechPilotBard (Pronouns: she/they)
Happy Pride Month to all my various rainbow-hued sibs and adjacent friends, everywhere along the spectrum of loud and proud to cis/het appearing (like me!). We are who we are, despite what others may say, and nothing but knowing ourselves better will change us. 😉💖🏳️🌈🏳️⚧️
Well, I didn't think I would write at all tonight, but I got some words in after all! Not on the chapter I need to finish, but it was a conversation that was in my head and I needed to get down, so I did!
She got the idea for the study while walking with her advisor at Stanford to discuss her thesis topic, and the paper she eventually published in the Journal of Experimental Psychology in 2014 is sharp enough that it should have ended the seated meeting on the day it came out.
She ran 4 experiments on 176 people. Same person tested twice. Once sitting, once walking. The creativity tasks were the standard ones psychologists have used for decades to measure how good a brain is at generating novel useful ideas.
81% of participants in the first experiment produced more creative ideas while walking than while sitting. In the second experiment, 88%. In the third, 100%. Every single person walked into a more creative version of themselves. On average, people generated 60% more novel useful ideas the moment their legs started moving.
The skeptical question is the obvious one. Maybe it was the fresh air. Maybe it was the scenery passing by. Maybe it was the change of environment doing the work, not the walking itself.
Oppezzo killed every one of those explanations with one experimental decision. She put people on a treadmill facing a blank wall. No scenery. No fresh air. No environmental change. Just legs moving in place while staring at white drywall. The 60% boost held.
Then she ran the experiment that closed the case completely. She took participants outside in two conditions. Half of them walked through a Stanford courtyard. The other half were pushed through the exact same courtyard in a wheelchair. Same outdoor stimulation. Same scenery passing at the same speed. The only difference was whether the legs were moving.
The walkers produced dramatically more novel high-quality ideas than the wheelchair group. The outdoors did almost nothing on its own. The walking did everything.
She also tested the opposite kind of thinking. Convergent thinking. The kind where there is one right answer and you have to narrow down to it. Word puzzles where 3 words share a hidden fourth word that connects them. The seated participants did slightly better on these. Walkers got slightly worse.
Walking is not a general intelligence enhancer. It does one specific thing. It opens up the divergent search inside your brain. The part that generates options. The part that produces unexpected connections. The part that takes a problem and finds five ways into it instead of one.
When you need to converge on the single right answer, sit down. When you need to find the answer in the first place, get up.
The mechanism is now well understood. Walking selectively activates what neuroscientists call the default mode network, the system inside your brain that runs when you are not consciously focused on anything. The DMN is where mind-wandering happens. Where memories cross-reference each other. Where ideas that have been sitting in separate folders inside your head finally bump into each other.
When you sit at a desk and force yourself to concentrate, you suppress the DMN. When you walk at a natural pace, the executive part of your brain gets just busy enough handling the walking that the DMN comes online and starts doing the work that focus was blocking.
The most useful finding in the entire paper is the one almost nobody quotes. The boost did not turn off the moment people stopped walking. Participants who walked first and then sat back down stayed elevated. Their next round of seated creativity work was still significantly better than people who had been sitting the whole time. The rest lingered for at least several minutes after the legs stopped moving.
You do not need to do creative work while walking. You need to walk before the creative work. The brain holds the state.
I think it's really funny how the practice of bleeping out profanity is not only completely ineffective as a censorship tool, it's had the opposite effect of creating an environment where it's ridiculously easy to edit apparent profanity into footage that doesn't actually contain it. Like you can just grab any audio or video clip and bleep out anything and people will automatically mentally insert profanity in there it fucking rules.
Worked on stressful thing, so of course my answer to calm down is to sketch a character who is just a little unhinged. Meet Davos, major antagonist from my first Astroprisma run.
The arm isn’t quite right, but I love how the expression came out in this sketch.
The other day I was surfing the internet and I found this specialized painting colour wheel, it shows how real paint colours relate to each other.
Outside: the purest/brightest colours.
Inside: naturally muted or earthy colors, like browns and ochres.
The Center: dark neutral tones used for mixing shadows.
The Lines: the lines connect colors that are opposites, if you mix them you neutralize the tone creating clean grays or browns instead of muddy puddles.
I want to share this with you because I think it is really illustrative!
Well, this chapter of the Voltron Fic continues to progress much slower than I want it to, but it IS progressing (Thank you to anyone/everyone waiting patiently)! I managed to write a bit more on the chapter WIP over two (!) sessions today — although I have now hit a snag and am momentarily stuck again. (sigh.)
Also, the weather was nice today, so I went outside and read / annotated a chapter+ of my big original-work scifi novel I’m currently revising. Progress is slow but happening on that project, too!
I'm from the USA. Technically, my first anime I remember watching was Voltron, way back in the 1980s. My first anime I can recall watching that wasn't a weird English-version amalgamation is one of the following (I don't remember the order I actually saw them): Akira, Vampire Hunter D, Project A-ko, or the Heroic Legend of Arslan.
Back when I was doing my MA program, I typed up a guide to writing query letters. It’s the post from this blog that I’m most proud of: a thorough step-by-step guide that combines days and weeks of research, and dozens of sources, into a neatly packaged 1,800-word post.
And I have to admit, I didn’t write it for tumblr. I needed to write a query letter myself for a publishing class, and my post was little more than compiled homework notes, saved as a Tumblr post for posterity.
I’ve actually had pieces of this in my drafts for years, but now I actually have to write a synopsis and I’m piling up the research, so I thought it was finally time for the sister to my query post to be published here.
But first…
What is a synopsis?
A synopsis is a 1-2 page summary of the events that transpire in a book, either proposed or already written. It’s used to give people who haven’t read your book a quick overview, so they know the story that’s being told in the book without having to read it.
When is a synopsis necessary?
Some literary agents request synopses along with query letters. More often, they’re used slightly later on in a writer’s career, when they have an agent or an editor and they need to submit a proposal for a new idea or project. A synopsis can also be used later on, in situations that don’t involve the author. For instance, when an editor pitches the book to the marketing and publicity team, who may not have time to read every book they’re working on. Unlike a query letter, the book doesn’t necessarily have to be written when you’re submitting its synopsis.
Basic Style
The job of a synopsis is to lay out the story with little fuss and no frills. They let the person you’re pitching know what they’re going to find in that giant stack of pages on their desk or in that obscenely long Word document (or else in the Word doc they’ll eventually receive).
Most professional synopses follow these rules:
They’re told in third person
They’re told in present tense
Characters’ names are CAPSLOCKED at first mention.
They are double spaced.
They tend to avoid descriptions longer than this sentence.
They focus on the central conflict and the protagonist’s emotional journey
They spoil the ending
They should be 500 words or less. (That is 1 page single-spaced, 2 pages double-spaced.)
HOW TO WRITE YOUR SYNOPSIS
The plot
Writing your synopsis, you have one goal: to tell a 50,000-100,000 word story in 500 words. It can be a little difficult to do this right. A great way to do this is to identify the key turning points in your protagonist’s story.
Do you remember those little plot roller coasters you’d make in elementary school? They’d usually be pointy witch’s-hat shaped things labeled with the terms: “beginning, rising action, climax, falling action, and resolution.”
Those turning points are the events you should be including in your synopsis.This is the structure you want to emphasize to your reader. You want to make abundantly clear that your story works like a story, that the events of your book have a beginning, a middle, and an end, that there’s an intriguing beginning, an exciting climax, a satisfying conclusion. You don’t want to just list out the events of your novel, but highlight the function of those events. X moment is important because it’s the inciting incident, the moment that takes the protagonist from their normal life and throws them into the story.
There are tons of great story roadmaps out there, that go into more specific story elements. The Hero’s Journey is the most famous example of a detailed, and mostly universal, story structure. There’s also the three-act structure that’s famous among screenwriters.
Find a structure that fits your story the best and use that to identify the events of your story that need to make it into your synopsis. I’ll link to different sources at the bottom of this post that will give you variations of story structure.
If you can correlate key scenes in your novel to the descriptions of these plot points, you’ll find an easy roadmap to navigating the many events of outlining your novel.
Your protagonist’s journey
Your protagonist is the heart of your story, and should be the heart of the synopsis, too. The protagonist’s emotional journey may not string all of these plot points together, but it’s going to be what makes them matter to the reader. The human element of your story has to be represented in your synopsis.
There’s no room for long descriptions, so you’ll have to be smart about finding a few terms that not only tell your reader who the character is, but what their story will be. For instance, if your story is about someone trying to get their critically-panned paintings in the Museum of Modern Art by breaking into the museum and installing the pieces themselves, you may want to introduce them with a sentence that begins like so: “When IGNATIUS, an ambitious and untalented struggling artist, discovers his work is rejected from yet another gallery…”
In addition to these descriptive terms, you should spell out what your protagonist wants (or wants desperately to avoid) and their stake in the events of the story.
Along the way, tell us how these key aspects of their persons change due to the events of the story, or else how they influence the events of the story. Tell us about how after raving reviews for his DIY MoMA exhibit came in, Iggy realized that though he still liked painting, his talents actually lay in performance art. Untalented to talented, struggling to successful, all because his ambition pushed him to try new and daring things.
Tips:
As in query letters, you only name the most important characters and locations outright. If you’re writing a synopsis for Harry Potter, you’ll want to use Harry’s name in the query, but most other people and places can be referred to by their function in the novel. Ex: Aunt Petunia and Uncle Vernon can be “his cruel relatives.” Hermione and Ron can be “his friends.” Even Hogwarts can be a “school for people with magical abilities.” This makes it easier for a reader to understand what’s going on in your story. Too many names in such a small amount of space can be overwhelming.
All telling, no showing. This is one piece of writing where you’ll want to tell, instead of show. You need to get to your point as quickly, as clearly, and concisely as possible; this isn’t the place for creative storytelling.
Oftentimes, synopses are given along with other materials, such as pitch letters and sample pages. While a synopsis should be captivating in-so-far that it’s well told, and it should maybe be a little stylish, being captivating and stylish aren’t its main goals. Additional materials like sample pages and pitches have more room for creative flourishes and can do a better job of selling the story, while the synopsis focuses on telling it.
Your synopsis should show that you know how to tell a story. While a synopsis doesn’t sell a story like a query, it should still illustrate the fact that you have an interesting, unique and well-structured plot. When finished, your reader should be able to think to themselves “that’s a good story. I want to read that.”
Your first draft will be too long. Your first draft of a synopsis will always be at least a page or two longer than it should be. Identify the sentences and paragraphs where you explain why a thing happens and ax them. Identify sentences where you repeat yourself and ax them. Identify descriptors that aren’t vital to understanding of the story and ax them. Once you make your first painful cuts and see that the story still makes sense without those things, you’ll start to get a better understanding of what can and cannot be taken out of your synopsis.
Bibliography:
6 Steps for Writing a Book Synopsis
How to Write a 1 Page Synopsis
The Hero’s Journey
Learn How to Write a Synopsis Like a Pro
How to Write a Novel Synopsis
The Secrets of Story Structure
Three Awesome Plot Structures for Building Bestsellers
7 Ways Write Plot Outline
Synopsis for “Bill and Ted’s Excellent Adventure”
How to Plan Your Novel Using a 3 Act Structure - ex. “The Hunger Games”
Story Structure by Plot Point for “Raiders of the Lost Ark”
One of the things that breaks my heart on this site is the tendency for new writers to survey their mutuals: “I have the urge to write this story, if I did would you guys read it?”
I’m an old with long-ignored rejection sensitivity issues. I’ve lived a long life forcing myself to find a glimmer of joy in the things I was good at to avoid failure (or some kind of flavor of this, I’m still trying to work it out). I know it’s scary to put your whole soul in the form of art out into the world. Honestly, if I had known how bad my rejection sensitivity was BEFORE I started writing and publishing, I likely would have never done it. Denial, my old friend, ironically served me well in this regard.
BUT.
Don’t put your art’s merit out for survey like that. Don’t ask people if they’d read it. Because, honestly, most will say yes and just not. Because life and a million others reasons that get in the way and the fact that people love to be supportive but also don’t always have the time to do the actual supporting. And then there’s the fact that these are strangers on the internet.
Share your art because you made it. Share your art because you were moved to create something from nothing. Share your art to immortalize the inner workings of your heart and soul. Don’t share your art because people said they would read it.
I understand wanting people to read and love your work. Every artist does. Just don’t start out asking for that reassurance. Be sure and reap joy from the reception you do get, don’t be unsure and tether the worth of the work to other people’s intentions to engage with it.
Oh so much THIS. Also, I have to add that I was *very much* not prepared for the emotional highs and lows that have come with writing and posting an ongoing Fic on Ao3. I have had days where the comments and interactions made me feel like I could write anything -- and a *lot more* days where the *utter lack of interaction* (or worse -- confusing, cruel comments) made me want to give up forever.
I'm still writing that Fic because in the end I set out to write a story (which ended up turning into something *much bigger* than I intended, at least as far as time and word count) and I intend to finish that. But if I were relying on others for motivation, it never would have even gotten this far.
Writing Disabled Characters: A Guide From Someone Who Lives It
This guide is for fiction writers. All of them—fanfic writers, original fiction writers, people drafting their first short story and people fifty thousand words into a novel. It grew out of years of writing disabled characters in fanfiction, but the bones of it apply everywhere, because disabled characters deserve to be written well regardless of the genre or format they exist in.
I'm Chantelle. I'm 24, English, disabled and chronically ill and autistic. I write because it helped me see myself in stories that didn't originally have space for me, and I've watched enough bad representation to know what it costs people when it goes wrong. This isn't a lecture. It's more like—notes from the inside. Things I wish more writers knew. Things I had to learn the hard way, through my own body and my own craft.
You don't have to be disabled to write disabled characters. But you do have to be willing to do the work. This is some of that work.
Note: this has 10 sections and is 6000 words long, so feel free to read a section at a time or come back to it later.
1. Writing From Inside the Body, Not Outside It
The most common mistake writers make with disabled characters isn't malice. It's distance. They describe the disability the way a doctor would describe a symptom—from outside, clinical, tidily summarised. She has rheumatoid arthritis. Her hands hurt. And then they move on, as if that's the whole picture. As if pain is an annotation rather than an atmosphere.
But disability doesn't live in the notes section. It lives in the body, all the time, and it changes the texture of everything—the way a room feels when you walk into it, the way a conversation costs you, the way you hold your coffee cup differently on a bad joint day without even consciously deciding to. You can't write that from the outside. You have to go in.
Going in means specificity. Not her back hurt, but the exact quality of the hurt—whether it's the dull, insistent ache that sits like a stone in the same spot all day, or the sharp electric flare that shoots without warning, or the deep bone-level exhaustion that makes even the idea of movement feel offensive. These aren't interchangeable. A character experiencing a fibromyalgia flare does not move through space the same way as a character in the middle of a Crohn's attack, even if both of them are technically having a bad day. The specificity is the whole point. It's what makes a reader with that condition feel seen, and what makes a reader without it understand something true.
It also means thinking about the invisible calculations disabled people make constantly—the ones that never make it into the narrative because they happen so fast and so automatically that we barely notice we're doing them. Is there seating near the door? How far is the bathroom? If I push through this event now, what does tomorrow cost me? These aren't dramatic moments. They're just the texture of being in a body that requires management. And when writers leave them out entirely, the disabled character ends up floating through a world that seems suspiciously uncomplicated—which is its own kind of erasure.
You don't have to catalogue every calculation. But you should know they exist, and let them surface naturally when the scene calls for it. A character who quietly scans a venue for seating before committing to staying is doing something real. A character who checks whether they have their medication before leaving the house isn't being dramatic—they're just alive. These small, grounded details are what separate a disabled character who feels like a person from one who feels like a plot device wearing a diagnosis.
Write from inside the nervous system. Write the sensation before you write the interpretation of it. Your joints felt wrong is outside. There was a grinding sensation in your knuckles every time you bent them, a deep, wet ache that seemed to come from somewhere beneath the bone itself—that's inside. The reader can live in the second one. The first one just files information.
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2. Differentiating Conditions That Share Surface Features
Fatigue is not fatigue is not fatigue.
This is one of the things that frustrates me most in fiction—the flattening of distinct experiences into a single, generic category. Two characters can both have chronic fatigue as a symptom and experience it in completely different ways, because the underlying conditions are different, the mechanisms are different, and the body's relationship to that fatigue is different. MS fatigue has been described as feeling like someone filled your limbs with wet concrete and turned off your brain mid-sentence. The fatigue of lupus can arrive like a wave, sudden and total, without necessarily being preceded by exertion. ME/CFS fatigue is bound up in post-exertional malaise—a feature so specific and so counterintuitive (that activity worsens symptoms hours or days later, not immediately) that writers who don't know about it will almost always get it wrong.
The same applies to pain. Neuropathic pain—the nerve pain associated with conditions like fibromyalgia, multiple sclerosis, or diabetic neuropathy—is often described as burning, electric, like pins and needles dialled up to unbearable. Inflammatory joint pain tends to be deep, aching, worse in the morning, stiff and grinding. The visceral pain of endometriosis or Crohn's disease is something else entirely: cramping, internal, sometimes so severe it causes nausea and dissociation. These are not the same experience. Blurring them together doesn't just fail accuracy—it fails the people reading who know the difference in their own bodies.
The same applies to cognitive symptoms, to mobility, to how conditions behave across a day. Parkinson's can involve tremors that are worse at rest and improve with movement—the opposite of what most people assume. Hypermobility disorders like hEDS involve joints that move too much, which can coexist with severe pain in a way that looks confusing from the outside: someone who is visibly flexible being in agony. Conditions like POTS mean that something as simple as standing up can cause the heart to race and vision to grey out. If you write a POTS character who stands up quickly without any consequence, the reader with POTS will notice immediately.
You don't need to be a medical professional to get this right. You need to do research specific enough to understand the particular condition you're writing, not just disability as a broad category. Read first-person accounts from people with the condition. Look at community spaces—forums, social media, blogs—where people talk about what their daily experience actually feels like. The clinical literature will tell you what's happening biologically; the personal accounts will tell you what it's like to live in.
And crucially: if two of your characters share a condition, they can still have different presentations. Crohn's disease doesn't look the same in every body. Autism doesn't present identically in every person. Part of writing disability well is resisting the urge to treat a diagnosis as a single fixed experience, when in reality conditions exist on spectrums, vary by individual, and shift over time.
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3. The Performance of Being Fine—and the Private Collapse
Most disabled people are very, very good at performing health.
Not because we're deceiving anyone—or not primarily—but because the alternative is exhausting in a different way. The alternative is constant explanation, constant reassurance of the people around you, constant management of their discomfort at your discomfort. It becomes easier, sometimes, to just absorb the cost privately and perform fine in public. To say I'm okay with a smile that's practised enough to land, to make a joke before someone can look too concerned, to answer how are you feeling today? with not bad when the honest answer would take twenty minutes and leave everyone in the room feeling guilty.
This is one of the richest seams in disabled character writing, and one of the most underused. The gap between public performance and private reality—what a character shows versus what they carry—is where so much of the most interesting emotional work lives. Not dramatic breakdowns, not moments where the mask slips theatrically. Just the small, quiet texture of managing. The way a character can laugh at dinner and then sit alone for ten minutes in the bathroom while their body protests the evening. The way I'm tired means something specific and enormous but gets received as something small and ordinary. The way you learn to modulate how much truth you give, because you've learned how much people can hold.
What makes this complicated to write—and what writers often get wrong—is the assumption that the performance is entirely negative. Sometimes it is. Sometimes it comes from internalised ableism, from shame, from exhaustion at having to educate people who should already understand. But sometimes it comes from something more neutral: the pragmatic decision to conserve energy, to choose your moments, to protect your own peace by not turning every interaction into a medical update. The performance isn't always suffering. Sometimes it's just strategy.
The private collapse is its own landscape. That moment when the door closes and the body is finally allowed to have the day it actually had—the relief of putting down the performance, the strange grief of how much it cost, sometimes the humour of it, because absurdity is a useful coping mechanism. A character who gets home, lies down on the floor for a full minute, and then gets up to make tea is doing something very true. Write that. Write the deflation, the recalibration, the way the body reports back now that no one's watching.
And write the people who see through the performance—not because they're dramatic about it, not because they make it a big confrontation, but because they've paid enough attention to know. That's its own intimacy. Being known despite the performance, maybe even because of it, is one of the most tender things a relationship can contain.
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4. Guilt and the Burden Narrative
The burden narrative is worth understanding, because it's everywhere—in fiction, in culture, in the way disabled people are sometimes taught to think about themselves—and it does quiet, persistent damage.
The framework positions disabled people primarily as weight: weight on their families, their partners, their carers, the healthcare system, society at large. It shows up in stories as the disabled character who repeatedly apologises for their existence, who frames their needs as impositions, who spends the narrative being grateful that anyone loves them at all. It shows up in the disabled character whose story is really about how hard things are for the people around them. It shows up in the euthanasia plotline dressed up as mercy. It's a very old framework, and the reason it's worth naming is precisely because it tends to pass as care—as realism, even—without being examined.
This doesn't mean disabled characters can't feel guilty. Of course they can—guilt is a real and common experience, and pretending otherwise would be its own kind of dishonesty. Many disabled people do feel guilt about the impact of their conditions on the people they love. That feeling is worth exploring, with honesty and without flinching. What's worth being careful about is treating that guilt as correct—as the appropriate response to the situation, as something the narrative endorses rather than examines.
The difference is in the framing. A character who feels guilty about needing help, and whose narrative gently pushes back on that guilt—through a partner who says I'm not here despite the hard parts, or through the character's own slow realisation that needing care is not the same as being a burden—that's a story about guilt that's doing something useful. A character who feels guilty about needing help and whose narrative agrees with them, centres the exhaustion of the carer, treats the disability as a problem the relationship has to overcome—that's the burden narrative in action, and it's worth noticing.
Similarly: disabled characters are allowed to have needs that cost other people something without the story treating that as a tragedy. Real relationships involve asymmetry. Real care involves effort. The presence of effort doesn't make the relationship broken or the disabled person too much. Writers who can only show care as effortless and joyful are avoiding something true, and writers who show effort as evidence of burden are drawing the wrong conclusion. The sweet spot is care that is real—that sometimes takes something—while the story makes clear, without announcement, that the person being cared for is worth it. Not as a favour. Just as a fact.
And then there's this, which doesn't get said nearly enough: disabled characters deserve to be the ones providing care. To be the person who notices when something is wrong before anyone says a word. The person who shows up with the right thing at the right moment, who remembers what their partner needs, who holds someone else steady for once. Disability doesn't make a person a perpetual recipient—it doesn't remove their capacity to love actively, to give, to be the one whose presence makes a room feel safer. When disabled characters exist only on the receiving end of care, it flattens them into a single role that real disabled people don't occupy. We give. We hold. We show up. Writing that is not an act of charity toward a disabled character. It's just accuracy.
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5. The Difference Between a Bad Day, a Flare, and a Crisis
These are not the same thing, and writing them as interchangeable is one of the most common errors in chronic illness fiction. The distinction matters not just medically, but narratively—because each one calls for a different story, a different emotional register, and a different response from the people around your character.
A bad day is baseline-plus. It's the condition doing what it always does, but louder. More of the same symptoms, more intensely, without necessarily indicating anything has changed. For someone with a chronic pain condition, a bad day might mean the pain is at a seven instead of a four, that they need to rest more, that they cancel the plan they'd been hoping to keep. It's hard. It's dispiriting, especially when it comes after a run of better days. But it's not alarming. The person has been here before. They know roughly how to navigate it—there's an internal protocol, more rest, more heat, more meds, lower the bar for what the day needs to contain. Someone who knows this person well knows a bad day too. They've learned what it looks like, what it needs, what it doesn't need. A partner who can tell the difference between a bad day and something worse, and respond accordingly—that's not a small thing. That's the shape of real intimacy.
A flare is different in kind, not just degree. A flare represents a period of increased disease activity—for conditions like lupus, Crohn's, rheumatoid arthritis, MS, and many others, this is a clinical reality with specific meaning. A flare might last days or weeks. It might require medication adjustments, medical contact, a fundamental restructuring of what daily life looks like. It carries a particular psychological weight that a bad day doesn't, because it can feel like losing ground—like the progress you'd made is being undone, like your body has turned against you again in a way that feels almost personal. The exhaustion during a flare is different. The grief is different. The relationship to hope is different. And the care a flare needs is different too—not just practical adjustments, but a particular kind of steadiness from the people around you. The difference between a partner who treats a flare like a bad day that just needs pushing through, and one who understands what it actually is, is enormous. Getting it wrong isn't just unhelpful; it's its own kind of loneliness.
A crisis is an acute medical emergency or near-emergency—a seizure, a severe allergic reaction, a mental health crisis, a level of symptom severity that falls outside the normal range and requires immediate intervention. This is not a flare. This is not a bad day. Writing a crisis with the same emotional register as a bad day misrepresents both, and writing a partner who responds to a crisis the way they'd respond to a bad day—calmly, routinely, with the same familiar toolkit—is writing a failure of care, whether or not the story frames it that way.
Why does this matter for fiction? Because the story around each of these is different. A character managing a bad day is drawing on their usual toolkit—this is familiar terrain, however unwelcome. A character in a flare is dealing with something that disrupts their sense of how life works, that requires renegotiation, that might bring grief and fear alongside the physical symptoms. A character in crisis may not be able to manage at all—they need help, they need intervention, and the story should reflect that without either catastrophising or minimising.
The people around a disabled character should respond differently to these three states, if they know the person well—and the degree to which they do is one of the most honest ways to show how well they actually know them. Getting it wrong in one direction, treating every bad day like a crisis, is smothering. Getting it wrong in the other, treating a flare like a bad day that just needs pushing through, is a failure of care. Knowing the difference is part of knowing someone. It's one of the things love, over time, actually looks like.
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6. Writing Care That Doesn't Fix, Pity, or Centre the Carer
Good care in fiction is one of the hardest things to write. It requires holding several things at once: showing that care is real and meaningful and sometimes costly, without making the person being cared for feel like a burden or a passive object of someone else's story.
The fixing impulse is the first thing to examine. In a lot of fiction, care is written as an attempt to solve the problem—the carer researching cures, pushing the disabled person to try new treatments, refusing to accept the condition as permanent. This comes from a genuinely loving place, sometimes. But it positions the disability as something that must be fixed before the relationship or the story can progress, and it subtly frames the disabled person as incomplete until they're better. If your character's condition is chronic, incurable, or simply not going to resolve over the course of your story, then care that's oriented around fixing is not only narratively unresolved—it's quietly damaging. It says: I love you, and I'm going to keep trying to make you different.
Care that doesn't fix looks different. It's showing up with soup when the person didn't ask. It's learning the specific way they need a pillow positioned. It's sitting with them in the waiting room even when there's nothing useful to do there. It's asking what would help instead of assuming. It's adjusting plans without making a production of the adjustment. It's the ten thousand small accommodations that happen so naturally they stop feeling like accommodations and start feeling like just how things are. This is the care worth writing.
Pity is subtler. Writers who want to avoid it often overcorrect into something that reads as pity anyway, because they're still centring the tragedy rather than the person. Pity says: look how hard this is for them, look how much they've lost, look what they have to endure. It asks the reader to feel sad on behalf of the disabled character rather than to feel with them. The difference is in whose perspective the scene inhabits and what it asks of the reader. A scene written from inside the character's experience—with the full texture of their personality present, their humour, their irritation, their love—is not pitying even if it depicts real suffering. A scene that frames the character primarily as an object of sadness, even a sympathetically rendered one, is.
Centring the carer is perhaps the most common structural error. It happens when the story of a disabled character becomes primarily the story of the people who love them—how hard it is for them, how much they sacrifice, what they feel watching this happen. These stories often have the best intentions. They can also accidentally say: the disabled person's inner life matters less than its effect on others. The disabled character becomes a lens through which the carer's emotional journey is explored, rather than having an emotional journey of their own.
The carer can have feelings. Of course they can—care is emotionally complex, and pretending carers don't experience grief, exhaustion, fear, or love in complicated forms would be its own dishonesty. But those feelings should exist alongside the disabled character's inner life, not instead of it. The disabled person should be the subject of their own story. Always.
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7. Consent, Agency, and Autonomy
Disabled people are the experts on their own bodies. Full stop.
This seems obvious, but fiction gets it wrong constantly—usually by having other characters override the disabled character's stated preferences in the name of care. The partner who insists they know best about what the disabled character can manage. The family member who makes medical decisions without consultation. The friend who tells someone they're pushing too hard when the person has already assessed their own limits and made a deliberate choice. These moments are often framed as loving. Sometimes they're written as admirable. What they actually are is a removal of autonomy, and fiction that presents this approvingly is doing something worth interrogating.
Autonomy matters especially in the context of care, because care relationships can slide so easily into dynamics where the person being helped loses the ability to direct their own life. Good care is care the person has asked for, or has clearly indicated they want, or has agreed to in the moment. It involves checking in, not assuming. It involves accepting the answer no or not right now or I'd rather do it myself even if it takes longer without argument. It involves trusting that the disabled person has thought about their own situation more than anyone else has, and that their conclusions about it deserve respect.
This doesn't mean disabled characters can't be in relationships where care is offered without being explicitly requested every single time—that would be both exhausting and unrealistic for established relationships. The difference is between a partner who has learned what their person needs and offers it naturally, versus a partner who decides what their person needs and provides it regardless of pushback. One is intimacy. The other is control, however well-intentioned.
Consent in the context of physical care is also worth naming specifically. Being touched, moved, helped with personal care, medicated—these are all things that require consent, and fiction that skips this step in the name of romantic urgency or narrative momentum is modelling something bad. A character who helps someone to bed without asking, who adjusts someone's body without checking, who administers medication unilaterally—these moments should be written with awareness of what they are, not presented as pure tenderness.
Disabled characters should also be allowed to make choices other characters disagree with—including choices about their own health. The character who decides not to pursue a treatment. The character who knows a certain activity will cost them and chooses to do it anyway. The character who is not managing their condition the way someone else thinks they should. These are valid choices. The narrative doesn't have to endorse them to respect them. Respecting a disabled character's autonomy means letting them have a life that isn't perfectly optimised for their health, because that's what having a life actually looks like.
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8. Newly Disabled vs. Long-Term Disabled: Identity and Time
There's a version of this guide that skips this section, and it would be missing something important. Because one of the quieter defaults in fiction—one that shapes everything from plot structure to emotional register without always being named—is the assumption that the most interesting disabled character is the one who is newly disabled. The one in the middle of the grief arc. The one still in the process of losing.
That grief is real. It's worth writing. A character who is newly disabled, or newly diagnosed with something chronic, is navigating something enormous—the loss of a previous body, a previous life, expectations they'd built about their future. The version of themselves they thought they were going to be. That kind of loss doesn't follow a clean trajectory, and it doesn't resolve tidily. It loops back. It ambushes you months later in a changing room or a doctor's waiting room or just a Tuesday afternoon when nothing in particular happened. Writing that honestly, without rushing to resolution, is genuinely good storytelling.
But the grief arc is not the only story. And the trouble with fiction defaulting to it is that it leaves an enormous gap where the long-term disabled character should be. The person who has had this condition for a decade. Who built their life around it—not in spite of it, not in defeat, but in the ordinary, practical, sometimes darkly funny way that people do when they don't have another option and don't want one. Who has protocols. Who has a relationship with their own body that is complicated and intimate and not primarily defined by loss, even if loss is somewhere in the history of it. Who knows exactly which painkiller to take in which order, who has the heating pad rotation perfected, who has made a hundred tiny adaptations to their environment and doesn't think of most of them as adaptations anymore. That's just their life.
The long-term disabled character has a different relationship to hope, to good days, to bad ones. They've learned what their body can be expected to do. They've grieved things already—and then got on with it, because grief doesn't stop you needing to eat and sleep and see people you love. Their illness or disability is present in their life the way a childhood scar is present: real, sometimes still tender, but not the first thing they'd tell you about themselves. They might have a dark sense of humour about it that took years to earn. They might be better at asking for help than they used to be, or worse at it. They are not in the middle of the story they were in at the beginning. They've moved.
Neither of these characters is more valid or more narratively interesting than the other. But writers tend to reach for the newly disabled character because the arc is familiar—it maps onto recognisable story shapes, loss and adjustment and some version of acceptance. The long-term disabled character requires more imagination, because their story doesn't have that clean shape. Their story is textured and ongoing and doesn't resolve into a moment of coming to terms with anything. Which is, of course, exactly what makes it worth writing.
It's also worth holding in mind that disability doesn't stay static over time. Conditions progress. They go into remission. They interact with ageing, with other conditions, with life events that change the body's baseline. A character's relationship to their disability at twenty-two might look completely different at forty—not because they've grown as a person in a tidy arc, but because the condition itself has changed, or because life has, or because what they need from the people around them has shifted. That arc—the long one, the decade-spanning one—is almost never written, and it contains things that the grief arc simply can't.
And then there's the question of identity, which is its own conversation. Some disabled people centre their disability as part of who they are—not the whole of it, but genuinely part of how they understand themselves, how they move through the world, what community they belong to. Disability, for these people, is not something that happened to them and that they've had to accommodate. It's constitutive. It's there in how they think, what they notice, what they value. Other disabled people don't relate to their condition as identity at all—it's a medical reality, it affects their life significantly, and it is not who they are. Both of these are completely valid. Fiction that insists on the first framework—that a disabled character must eventually come to embrace their disability as part of themselves—is projecting a particular politics onto characters who may not share it. Fiction that insists on the second—that disability is always and only something to be coped with, never a source of belonging or self-understanding—is equally partial. Let your character have their own relationship to what their body is. Don't decide it for them.
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9. Research, Responsibility, and Knowing Your Limits
If you're writing a disabled character with a condition you don't have, you have a responsibility to do real research—not just enough to avoid obvious errors, but enough to actually understand what you're writing about.
Real research has a specific shape. It starts with clinical information: what is this condition, what are its mechanisms, what are its common symptoms and treatments, what does the medical literature say about it. This is the foundation and it's necessary, but it's not sufficient. Clinical information tells you the biology. It doesn't tell you what it's like to be in the body that has this biology, every day, in a world that wasn't designed for it.
For that, you need first-person accounts. Blogs, social media posts, support community discussions, personal essays, oral histories, #actuallyautistic and #spoonielife and every other tag where disabled people talk honestly about their lives. These are where you find the things medical literature doesn't document: the specific texture of the 3am pain, the strange grief of a good day because it reminds you what you're missing, the dark humour that comes from having no other choice, the particular fury of being disbelieved by a doctor for the seventh time. You find out that POTS patients often talk about the coat hanger ache—a specific pain across the shoulders and neck. You find out that Crohn's patients have very specific feelings about the distance to the nearest bathroom. You find out that autistic people experience sensory input in ways that vary enormously from person to person and don't map neatly onto what non-autistic people imagine.
Research also means knowing what you don't know—and being willing to hold the line there. If you're writing a condition that is genuinely outside your experience and understanding, and your research is turning up more uncertainty than clarity, that might be a signal to simplify, to write around the specificity rather than through it, or to ask someone who has the condition to read your work. Sensitivity readers with lived experience are not a box to tick at the end of the process. They're a resource to engage with genuinely, to listen to, to give real weight to when they tell you something isn't right.
Knowing your limits also means thinking about scope—how much accuracy a given character actually requires, and where proportionality lies. It's possible to write a character who has a condition without the story needing to be comprehensively accurate about every aspect of that condition. A minor character with diabetes doesn't need a clinically thorough representation of blood glucose management. But they also shouldn't have their diabetes mentioned once and then never affect anything again, and they shouldn't have it affect things in ways that are actively wrong. There's a middle ground between exhaustive medical accuracy and careless inaccuracy, and it lives in proportionality—let the condition be as present in the story as it would be in the person's life, and make sure that presence is honest.
And finally: if you get something wrong and someone tells you, listen. The response to being corrected is not defensiveness, and it's not excessive self-flagellation—it's just adjustment. You update your understanding, you revise if revision is possible, and you carry the knowledge forward. Nobody gets this perfectly right on the first attempt. The goal is to get it righter over time.
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10. A Specific Note on Stigmatised Conditions
Some conditions carry stigma that functions differently from the general ableism disabled people navigate—a specific, targeted social weight that shapes not just how other people treat them, but how they relate to themselves, what they're able to say out loud, what kind of sympathy they're permitted to receive.
Mental health conditions are the obvious example. Characters with depression, bipolar disorder, borderline personality disorder, schizophrenia, OCD, eating disorders—these characters exist in a landscape where their condition is routinely misrepresented in media, used as shorthand for danger or unreliability, and often treated as a moral failing rather than a medical reality. Writing these characters well requires knowing what the stigmatising representations look like, so you can avoid replicating them: the violently unpredictable character whose mental illness explains their actions, the character whose breakdown is spectacle, the character who is healed by love and stopped needing treatment, the character whose eating disorder is a background detail added for drama without any understanding of what that experience actually involves.
Addiction is similar. Characters in recovery, or actively struggling with substance use, are frequently written through the lens of either condemnation or redemption—the addict as moral failure who earns back their humanity, or the addict as tragic figure whose whole story is about the addiction. The actual experience of addiction and recovery is far more complicated, far less linear, and far more human than either of these frameworks allows. A character can be in recovery and have a full life that isn't primarily about their recovery. A character can be struggling with addiction and still be someone worthy of care and complex storytelling.
Conditions that are frequently disbelieved—fibromyalgia, ME/CFS, long COVID, functional neurological disorder, many others—carry a particular kind of stigma that comes from medical gaslighting. The experience of being told that your symptoms aren't real, or aren't as bad as you say, or are caused by anxiety or laziness or attention-seeking, shapes the way people with these conditions talk about themselves and relate to care. Writing a character with one of these conditions means writing the way it feels to be disbelieved—the internalised doubt, the exhausting vigilance, the specific anger of having to prove something that is happening inside your own body. It also means not writing their condition in a way that implies the doubters had a point.
Stigmatised conditions also affect how characters are received within the story's world—including by other characters who are themselves disabled. The disability community contains its own hierarchies, its own arguments about who counts, its own moments of internal stigma. This is real and worth being honest about. A character with an invisible condition who is told they don't look disabled by someone who uses a wheelchair is encountering something that actually happens. A character with a psychiatric disability who is treated differently from a character with a physical one is navigating something real. You don't have to iron this out into a smooth, unified community—but you should write it with care.
The through-line across all stigmatised conditions is this: the stigma is not the character's fault, and the narrative shouldn't treat it as their burden to resolve. A character doesn't have to overcome their diagnosis to deserve dignity. They don't have to explain themselves sufficiently to earn sympathy. They don't have to be exceptional in order to matter. The story should know this, even when other characters in it don't.
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A Final Note
None of this is meant to be a checklist. Lists of rules make for better-researched fiction sometimes, but they don't make for better storytelling. The goal isn't to avoid every possible mistake—it's to actually care about the person you're writing. To be curious about what their life feels like from the inside. To let that curiosity lead you somewhere honest.
Disabled people are not cautionary tales, or inspirations, or tragedies waiting to be resolved. We are people—complicated, contradictory, funny and frustrating and tender and difficult, living in bodies that require a particular kind of navigation, in a world that mostly wasn't designed with us in mind. We deserve fiction that knows this. Fiction that starts from the inside and works outward. Fiction that lets us exist fully, without having to justify that existence or resolve it into something more comfortable. Write us like that. It's not as hard as it seems. It just requires paying attention.
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